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The Royal Caribbean Resort Hotel. . . where yellow birds sing in lush tropical gardens. . . nights come alive with a calypso beat, beach parties, gourmet entrees and tropical fruit dishes, service that really makes you feel special, and dancing under the stars. . . days sparkle with sunbathing, tennis sailing, fishing, water skiing, golf, swimming. . . and legendary Jamaican hospitality completes the royal vacation you enjoy. . . only at the Royal Caribbean. No children under 16 or conventions. Contact your travel agent or The Royal Caribbean Resort Hotel. . /a RESORT HOTEL FOR BROCHURE WRITE: Royal Caribbean/P.O. Box 2I025/Department NY-12 /Phoenix AZ.85008 PAPERWEIGHTS AntIque and Contemporary Our Illustrated catalogue & price guide for collectors is now available in full color. $3.00. possibility of happiness The dramatic situation of this "Deh vieni" is re- vealing. Susanna sings of her love for FIgaro; but when he hears it, he mIsunderstands, and smarts under it. Mr. Rennert's previous Mozart productions for the Met, "Don Gio- vanni" and "Die Zauber:flöte," have worn well, and his "Figaro" may do so, too, for it is firmly laid out on traditional lines, in scenery, by Robert O'Hearn, which is not attractive but perfectly serviceable. Like some other recent designers, Mr. O'Hearn has aimed to show more of the palace than just the room immediately nec- essary; in Act I there is also a cor- ridor, in Act II a terrace. The in- tention is presumably to give a sense of intrigue scuttlIng through all the building, but surpnse entrances be- come impossible. The garden of Act [V is a labyrinth of trellises that look like giant fire screens, ugly but useful for darting behind. Mr. O'Hearn's Goya-based costumes are handsome. Lighting depends largely on follow spots-there is even one on Cherubino during Figaro's "Non più andrai"- which catch the screens of Act IV when characters move behind them. What the show lacked, on the first night, was any strongly defined char- acter, musical or dramatic. The text was not quite complete, and the sing- ers' approach was literally graceless. ] ustino Díaz, the Figaro, declined Mozart's invitations to a cadenza in "Non più andrai," Eve.lyn Lear, the Countess, left an empty hole in the middle of "Dove sana." There were some hundreds of "wrong notes" in the form of blunt phrase endings where appoggiaturas are implicit. Steu- art Bedford, conducting, favored sWIft, unyielding, unfeeling tempi that strait- jacketed the marvellous harmonic and melodic movements of the music. The social lines were fuzzily drawn, largely because the Count, Wolfgang Brendel, behaved like a young Baron Ochs. (A grown-up Octavian would be more ap- propriate.) There was no menace in the man, and little seigneurial com- mand; his servants, in the Act I chorus, were quite out of hand-and therefore out of style. The emotional line went wrong when the Countess, she who has just sung the heartbroken "Porgi amor," set out to seduce Cherubino. (Beaumarchais's third Figaro play, "La Mère Coupable," in which the Countess, raped by Cherubino, has borne him a son, appeared only in 1 792-six days after the attack on the Tuileries-and has no bearing on Mo- zart's opera But a Countess subtly I>ECEMßEI\ I 5, I 9 7 5 { ,'#" ). 'Ii( i . f' t 't.. <WI % li- .< -c: AJt. -:- 1;"' '" t .. Ñ , ;w y " .v- ... << ! ;",... \ t .::,.,,<.,....; -- w .,., ..."" ;l^' ' A ......... Yo. '*-..' F 1'''''' ^ ---::-- .>e<--c:....,,; . {p;: - ..............IV....... .... <<"!"+<:"..... . :;: ;..,;I:."!"; :.=::;.;.: , .. *' <\.\. - :',. . f -- '"' !" r "" :.q_ - H ..s._ ;. A:: ' f:f:;'"'" + : .__. f l ,$ ';?- - - Ä'" -% .:::. . :2' , / . r" '<, !- ...... - :l "OC> :æ-_ = '.- o. I . . ..... - ..,.... '!>. 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